Grindcore is a genre that normally considered abrasive, aggressive and known to push the limits to what it means to be extreme music. This genre can be called the bastard child of Punk and Metal. However when all those elements in placed has already been turned into tropes then it becomes another conservative medium. It stays stagnant and no one is stirring up the hornet's nest. That is where the old guards like Napalm Death return and add elements that no one dares to do in the first place.
For example, adding clean vocals in their album "Utilitarian" in tracks like "The Wolf I Feed" or even the Doom-esque atmosphere they have when they slow down. Japanese/American based Gridlink is one of those bands that threw away all those conventions and create their own brand of Grindcore.
This album is a great example of how Grindcore can become, and I dare say, melodic while staying aggressive. Sadly, this band is no more (disbanded upon release of this album) but I am very sure this band one day will be referred to as a turning point for modern Grindcore, like how At The Gates became border between the conventional Death Metal and the modern sound of Melodic Death Metal.
Gridlink, while still creating their art on this limited canvas, their music uses unconventional melodic riffs that could surprise you. Even in the beginning, during the first few seconds, the band decides not to hit notes on the e-string but the more melodic end of their guitar, almost as if the first few notes of a Skramz record. Constructed on the template of short blistering micro-songs, the band uses a hefty amount of tremolos to create a melodic, uplifting feel, only to have the drums going on a blast in the background with complex signatures.
The tremolos while can have Black Metal sounding verses, when listened on the second time feels like the uplifting tremolos on an Orchid album instead. When the guitars hit the power chords, the chord arrangement isn't of the conventional Crossover Thrash progression, but is able hit the minor chords and arrangement that feels like one of those 90s Hardcore records.
Then all of sudden the band is able to add Death Metal influenced riffs but on a higher pitch register, and also extremely melodic but not Swedish in any form. While on one side the band is able to create riffs using tremolos, power chords and Death Metal progressions up and down the guitar, the band dare to take the jump to use frantic leads that could easily fit in a Converge record.
But another interesting twist to add another layer of melody is the sparse use of the violin to create a melancholic texture. In fact, there is an instrumental acoustic track without vocals or drums, and only with the violin that doesn't seem out of place on a Grindcore record. That just shows how well the melody is able to intertwine with the full speed charge of the drumming when an acoustic place isn't jarring or weird on a Grindcore record.
All of this is tied up with screaming vocals that sounds almost like a Black Metal shriek but without the over-extended vocal chords destroying wail. Also featured are deep growls of the vocalist of Assuck to add some variety to the vocal department. All of that, like I said above stays into the confine of a structure that can still be identified as Grindcore.
One of the band's gig poster from a while back.
The drawback that could be pointed out (if drawback is what you call them) is that this wouldn't appeal to the conventional Grindcore fan. This is more like Grind with a more refined attitude and a more modern Hardcore-influenced approach than others.
This does not mean that there is some form of Metalcore influence in this album but a sound that seems to stay away from conventional E-string based heavy sound. Something like bands like Circle Takes The Square is heavy in its own way instead of sounding like Negative Approach, but still sounding like Hardcore (or what CTTS likes to call, Apocalyptic Punk).
Even the lyrics take an even more mature approach. Many Grind bands, especially in the 90s and the later era of Cybergrind in the 2000s have been too focused on humor that many bands have just became parody of the genre itself. While humor can be good if it is well done and in the form of political satire can be entertainingly smart, it only happens in rare cases.
Gridlink on the other hand at times talks about abstract concepts and at times sci-fi/anime done in a tasteful manner. With references to animes like Dougram (which I have not heard before researching about this album), the bad uses these pop culture elements without being cheesy or felt forced. Something that is probably underrepresented in Metal or Punk music. It treats it's subject matter with respect it deserves in a very poetic manner.
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Again, I have to express how unfortunate that this band is very short lived. The variety of musically capabilities shown here in terms of complex tempo change, how much riffs can inserted into a Grindcore song, a genre known well for their 3 chord stomping and ridiculous lyrics. This record made Grindcore feel a bit matured, something like how later day Napalm Death made their brand of Grindcore feel like a matured man rather than a young adult.
But to only wish them stay longer could possibly be something very selfish on the part of the listener. Not only this is forcing people who could no longer work together to stick like demotivated office workers in opposite cubicles, but this is also destroying what their art could possibly stand for. In this short period, the band is able to create the best musical output within that environment possible, and to squeeze more would only get repetition and long extended half hearted copies of themselves.
Something that bands in this genre, along with Punk realized when writing songs back in the 70/80s. There is no point of having a 2nd verse when it will be the same and has of no value added. So they trim it, to create that massive punch. The force isn't distributed unequally but all given into one direction, in that 1 minute charge. The same could be said of this band's journey. Something extremely profound in one sitting rather than a mundane ride on their original waves.
Facebook: https://www.facebook.com/GridLink512
Bandcamp: http://gridlink.bandcamp.com/
The tremolos while can have Black Metal sounding verses, when listened on the second time feels like the uplifting tremolos on an Orchid album instead. When the guitars hit the power chords, the chord arrangement isn't of the conventional Crossover Thrash progression, but is able hit the minor chords and arrangement that feels like one of those 90s Hardcore records.
Then all of sudden the band is able to add Death Metal influenced riffs but on a higher pitch register, and also extremely melodic but not Swedish in any form. While on one side the band is able to create riffs using tremolos, power chords and Death Metal progressions up and down the guitar, the band dare to take the jump to use frantic leads that could easily fit in a Converge record.
But another interesting twist to add another layer of melody is the sparse use of the violin to create a melancholic texture. In fact, there is an instrumental acoustic track without vocals or drums, and only with the violin that doesn't seem out of place on a Grindcore record. That just shows how well the melody is able to intertwine with the full speed charge of the drumming when an acoustic place isn't jarring or weird on a Grindcore record.
All of this is tied up with screaming vocals that sounds almost like a Black Metal shriek but without the over-extended vocal chords destroying wail. Also featured are deep growls of the vocalist of Assuck to add some variety to the vocal department. All of that, like I said above stays into the confine of a structure that can still be identified as Grindcore.
One of the band's gig poster from a while back.
The drawback that could be pointed out (if drawback is what you call them) is that this wouldn't appeal to the conventional Grindcore fan. This is more like Grind with a more refined attitude and a more modern Hardcore-influenced approach than others.
This does not mean that there is some form of Metalcore influence in this album but a sound that seems to stay away from conventional E-string based heavy sound. Something like bands like Circle Takes The Square is heavy in its own way instead of sounding like Negative Approach, but still sounding like Hardcore (or what CTTS likes to call, Apocalyptic Punk).
Even the lyrics take an even more mature approach. Many Grind bands, especially in the 90s and the later era of Cybergrind in the 2000s have been too focused on humor that many bands have just became parody of the genre itself. While humor can be good if it is well done and in the form of political satire can be entertainingly smart, it only happens in rare cases.
Gridlink on the other hand at times talks about abstract concepts and at times sci-fi/anime done in a tasteful manner. With references to animes like Dougram (which I have not heard before researching about this album), the bad uses these pop culture elements without being cheesy or felt forced. Something that is probably underrepresented in Metal or Punk music. It treats it's subject matter with respect it deserves in a very poetic manner.
Faith absolute to certain deathSubtle war-themed anime referenced here
Evaccaneer doom true last
Betrayed in slaughter the next of kin
Black label true death begins at last
Tell. Me. Your true heart.
Another photo from the set of the live action adaptation of Neon Genesis Evangelion.
Again, I have to express how unfortunate that this band is very short lived. The variety of musically capabilities shown here in terms of complex tempo change, how much riffs can inserted into a Grindcore song, a genre known well for their 3 chord stomping and ridiculous lyrics. This record made Grindcore feel a bit matured, something like how later day Napalm Death made their brand of Grindcore feel like a matured man rather than a young adult.
But to only wish them stay longer could possibly be something very selfish on the part of the listener. Not only this is forcing people who could no longer work together to stick like demotivated office workers in opposite cubicles, but this is also destroying what their art could possibly stand for. In this short period, the band is able to create the best musical output within that environment possible, and to squeeze more would only get repetition and long extended half hearted copies of themselves.
Something that bands in this genre, along with Punk realized when writing songs back in the 70/80s. There is no point of having a 2nd verse when it will be the same and has of no value added. So they trim it, to create that massive punch. The force isn't distributed unequally but all given into one direction, in that 1 minute charge. The same could be said of this band's journey. Something extremely profound in one sitting rather than a mundane ride on their original waves.
Facebook: https://www.facebook.com/GridLink512
Bandcamp: http://gridlink.bandcamp.com/
Terence A. Anthony commutes between Kuala Lumpur and Kuching. Co-Founder of Aural Chaos. He also writes for Greater Malaysia and Opinions Unleashed.